Jim Carey The Incredible Burt Wondertone Poster; Spanish Sheet for Warm Bodies; Educazione Siberiana Sheet; Drift Surfing Sheet; Frack Nation

Burt Wonderstone Olivia Wilde Sheet; Cool Flaming Iron Man Poster; Cast Side Effects Sheet; Beyond the Hills English; Italian Posters for Olympus Has Fallen and Tutti Contro Tutti

 

 

 

This Is 40: Stumbling Towards a Meaningful Life

This is 40 the sort of sequel to Knocked Up is a wryly observed, funny depiction of marriage and female identity crisis that expands the life of Pete (Paul Rudd) and Debbie (Judd Apatow’s wife Leslie Mann) from Knocked Up to knocked down to knocked back up again.  The circularity, the circle of life, call it whatever you want, redeems a first half of random vignettes that echo the dislocation Ted and Debbie feel about their marriage.  Of course, the Apatow children (Maude and Iris)  appear to make the point that the very thing that Ted and Debbie are running from are the very thing the two of them need to be running towards.  All the dislocation stumbles towards meaning and the coy idea that getting knocked up, having and raising children is what married life is all about.  The whole movie is a cleverly designed feminist frustration.   This Is 40 gets a B.

More Burt Wonderstone Character Sheets and The Croods Too; UK Robot and Frank; Italian Looper Poster; A Fierce Green Fire

An Unused Skyfall Character Poster; Treachery Cast; Another Jack the Giant Slayer; French Fiulm Mobius Character Sheets and a Retro Sheet for VI Warshawski

More Escape From Planet Earth Character Sheets; Lost Years; Bedda Radast (Rock Bottom)

Poster Extravaganza: The Incredible Burt Wonderstone, Up On Poppy Hill, thge Place Beyond the Pines, Posters by Jonathan Burton for BAFTA Best Picture Nominees LINCOLN, ARGO, ZERO DARK THIRTY, LIFE OF PI, and LES MISERABLES; The Sessions French poster; The Lone Ranger; Leviathan; Somebody Up There Likes Me Two Some; the Jeffrey Dahmer Files; The Croods Italian Poster; Trance Rainbow Sheet; Into the Mind; Hava Nagila: The Movie; Indian Posters for Nautanki Saala and Lokpal: Icleandic Poster for Jo; The Host Jake Ablel Is Ian O’Shea Character Sheet; Hansel and Gretel Witch Hunter; The Last Gladiuators; Bless Me Ultima; The Queens of Country; The Last Stand Japanese; The Helpers Torture Trio; Spring Breaker Portugese Sheet; Glow: The Story of the Gorgeous Ladies of Wrestling Poster; Summer League Cast ; Escape From Planet Earth Character Posters

 

More Trance, Caveman Crood Characters; Into The White Starring Rupert Grint; Di Sini Ada Yang Matti Phillipino Horror;Top Gun Imax 3D Rerelease; Reign of Assassins Features Michelle Yeoh Marital Artistry

John Dies in the End: Why Couldn’t He Have Died at the Beginning?

If John had died at the beginning of John Dies at the End, this critic could have been spared a lot of grief from a movie that fails to live up to its hipster expectations.   The two slacker friends, Dave and John, must battle mind altering alien drugs of the extraterrestrial kind that warp time space and all cinematic reality in a rush to save the world from an onslaught of parallel universe squishy spider and slug creatures.  As long as the illogical reins John Dies at the End is a decent time trip, horror, sci-fi hybrid in the mode of Being John Malkovich– at least for its first half– until the need to explain the universe and cinema reality known as  narrative logic unravels all the mysteries of life in a poof cloud of anti-climaxes.   Director Don Coscarelli who made the warped Phantasm and the delightful horror superhero parody Bubba Ho-Tep bring his usual good creature creation eye and droll sense of framing and pace to the procedures, resurrecting occasional nods to his other films (Angus Scrimm who played the Tall Man in Phantasm and its sequels cameo as a priest that progressively goes dark side) keeping the funny in the horror even when the film goes light.  Horror buff Paul Giamatti (who also served as executive producer here) shows up as a skeptical feature reporter and Chase Williamson as Dave give a great dead pan performance.  John Dies at the End gets a B-.

Hitchcock: The Woman Behind The Master of Suspense

Hitchcock delights in proving the old saying “that behind every great man is a great woman.”  In Hitch’s case it was his wife, occasional critic and editor Alma Reville and the film encapsulates the essence of their marriage and partnership in the brief period during the making of Psycho.   Anthony Hopkins gives a rather droll imitation of the voice, the walk and the profile leaving Helen Mirren as Alma to be the more fully rounded partner of the two, engaging temptation, neglect, inspiration and in the end– literally pulling Hitch’s still-born masterpiece of cinema from the scraps of out takes and Ed Gein delusions that leaves The Master of Suspense clueless and inert.  First time director, Sacha Gervasi has some fun with the inevitable Hitch technical homages, getting into the nuts and bolts of the Hitchcockes marriage without the temptation to overpower the movie in cinema minutiae, making Hitchcock a mystery of their love rather than a mystery of art.  The soft focus theme gives Hitchcock heart and shows how love can create great collaborative art.  It gets  a B+.